WO2004094948A1

WO2004094948A1 - Pianoforte instrument comprising additional delivery of energy into the sound board, and method for influencing the sound of a pianoforte instrument

Info

Publication number: WO2004094948A1
Application number: PCT/EP2004/004139
Authority: WO
Inventors: Roberto Valli; Luigi Lamacchia; Nikolaus Schimmel
Original assignee: Wilhelm Schimmel Pianofortefabrik Gmbh
Priority date: 2003-04-21
Filing date: 2004-04-19
Publication date: 2004-11-04
Also published as: DE10318149B4; DE10318149A1; EP1616147B1; US20070079693A1; US7786374B2; PL1616147T3; DK1616147T3; ES2690521T3; JP2006524350A; EP1616147A1

Abstract

Disclosed is a pianoforte instrument comprising a musical mechanism (11) with keys. Also provided are strings which are struck via a mechanism when the keys are actuated and are made to vibrate. The vibrations of the strings are transmitted to a sound board (20). A device (25, 26) is provided for delivering additional oscillation energy into the sound board (20). Also provided are sensors (15) which directly or indirectly detect actuation of the keys of the musical mechanism (11). The measured values of the sensors (15) are fed to a sound-amplifying device (30). The sound-amplifying device (30) is equipped with units (31, 33, 34, 35) which compile data corresponding to a desired characteristic sound in accordance with the measured values of the sensors (15). The sound-amplifying device (30) supplies the sound board (20) with additional oscillation energy via the delivering device (25, 26) according to the determined data.

Description

Piano instrument with additional energy feed into the soundboard and method for influencing the sound of a piano instrument

The invention relates to an acoustic piano instrument with a mechanism with keys, with strings that are struck and vibrated via a mechanism when the keys are actuated, with a soundboard on which the vibrations of the strings are transmitted, and with a device for feeding additional vibration energy in the soundboard. It also relates to a method for influencing the sound of a piano instrument, with a mechanism with keys, with strings that are struck by a mechanism when the keys are actuated and set in vibration, with a soundboard to which the vibrations of the strings are transmitted be, and with a device for feeding additional vibration energy into the soundboard.

Piano instruments have been known for centuries. They primarily include pianos and grand pianos. The keen interest of the musically interested public in high-quality acoustic piano instruments has led to continuously improved piano instruments since the development of acoustic piano instruments began around 300 years ago within the framework of technical intuition and scientifically substantiated development processes. According to the current state of the art, the perfection achieved can no longer be significantly increased in an acoustic-mechanical way.

The pianoforte instruments have a large number of keys that cause strings to vibrate through mechanical action. These string vibrations are then transferred to a soundboard. The vibrations of this soundboard then lead to the sound that the pianist or his audience can hear, possibly impaired by properties of the room in which the piano forte is located, for example by reverberation or damping. Additional possibilities for the sound reproduction of piano instruments are proposed, for example, very successfully by the applicant's WO 90/03025 A1. Here, additional energy is fed into the soundboards of acoustic piano instruments using driver systems. These systems deliver vibration energy to the soundboard with the help of a system of magnets and coils.

Other proposals for so-called digital pianos with similar mechanisms are known from EP 0 102 379 B1, WO 83/03022 A1, US Pat. No. 5,247,129 and WO 00/36586 A2.

Such systems are used in particular to use the soundboard of the piano or other piano instrument as a kind of loudspeaker membrane for the reproduction of music and speech. On the one hand, this enables the music played on the piano forte to be played back with a time delay, and on the other hand the pianist can also be provided with an artificial accompaniment while he is playing. As an alternative, a "muting" can be carried out while playing, in order to prevent, for example, undesirable sound and thus noise generation when practicing. The recorded sound sequences can later be inserted into the soundboard and used as a loudspeaker membrane to produce a relatively "true to the original" sound.

Another application of externally generated vibration energy is described in US Pat. No. 5,262,586, which is fed into the soundboard of acoustic piano instruments. The sounds generated acoustically by the piano instrument itself serve as the sound source for the generation of the vibration energy to be added to the played sound images. These are recorded via sound recorders on or near the soundboard of the instrument, for example acoustically or inductively. They are then returned to the soundboard as additional energy. A kind of artificial amplification of the sounds mechanically generated by the keys is created in a closed system. In this way, an unsatisfactory be balanced volume of the game, for example, in very large rooms.

A certain problem is the feedback effect, - which can emerge if the energy supply is too high, since the soundboard, which is set in additional resonance, can of course also have an effect on the sound recorders.

In contrast, the object of the invention is to propose piano instruments which have further possibilities. Another task is to propose methods for influencing the sound of a piano instrument with additional options.

The first object is achieved in that sensors are provided which directly or indirectly detect the actuation of the keys of the game mechanism, that a device for sound expansion is available, to which the measured values of the sensors are supplied, and that the device for sound expansion is equipped with devices, which, depending on the measured values of the sensors, compile data which correspond to a desired sound characteristic, and that the device for expanding the sound supplies additional vibrational energy to the soundboard in accordance with the determined data via the device for feeding in.

The second object is achieved in that the actuation of the keys of the game mechanism is detected directly or indirectly by means of sensors, that the measured values of the sensors are fed to a device for expanding the sound, that devices are provided which collect data that depend on the measured values of the sensors correspond to a desired sound characteristic, and that the device for expanding the sound supplies additional vibration energy to the soundboard via the device for feeding in according to the determined data.

The equipment according to the invention of keyboard instruments with acoustic sound generation, in particular of piano instruments, enables both the extension and / or amplification of the available sound spectra of each individual tone as a whole as well as the change of individual or a plurality of selected partial tones from the sound spectra of the individual tones and thereby also enables the change of the sound phases of individual tones. This goes hand in hand with an expanded resonance behavior of the harmonically resonating tones / partials of other tone ranges of the instrument and also with increased and / or prolonged natural vibrations of the vibrating sound strings of the relevant tone. This enables significant changes in the sound phases of individual tones, a large number or all tones and thus the extension, amplification, change and / or expansion of the sound images and the sound character of the instrument, and even selectively with individual tones, complex tone sequences in selected tones Pitches or over the entire range of the instrument equipped according to the invention.

The additional vibration energy is supplied in real time without delay.

The sound expansion is brought about by the additional feed of externally generated vibration energy, which is preferably fed to the soundboard via soundboard drivers. The additional vibration energy serves to counteract the consumption of the energy absorbed by the vibrating sound strings, which is customary in the prior art in the membrane-like resonating soundboard, in a freely definable extent. The additional vibration energy thus accumulates in the membrane-like resonating soundboard with the vibration energy generated acoustically by the vibrating sound strings and mixes in the sounding board to the sound images (sound spectra) expanded in this way and, consequently, to expanded sound images.

In contrast to US Pat. No. 5,262,586, it is not the sound already generated on the vibrating soundboard that is picked up by the sensors, but rather the "cause" of the sound, namely the actuation of the piano key, for example by observing the hammer head unit and its behavior. However, this means that it is possible to intervene much earlier, namely with the sound image phase, the development of the vibrations of the soundboard. Due to the system, unwanted feedback is avoided and of course completely different sound modifications are possible. According to the invention, it is possible to work virtually in "real time".

The present invention does not extract the information or data inputs from secondary sources. Of course, the expert has previously assumed that a vibrating string, a vibrating soundboard, etc. is exactly the sound that he would like to have reproduced when the information was separated and then used. The expert wants to reproduce exactly the original string of the vibrating string. In his view, the vibrating string has been the primary source so far. At first, this seems logical and logical. Only the invention in the present application recognizes that this is wrong and uses the truly primary source of information: the key movement.

It is not the actual sound of interest that is used, but the basis, i.e. the origin of the sound, namely by sensors that measure the speed or position of the keys and the information about these sensors is then processed further. This leads to a completely different basic treatment of the "causes" of the music and also for the behavior of the entire system. This means that not only can sounds be reproduced or perhaps reproduced at a higher volume by simple amplification, but also the desire and will of the pianist the actuation of its keys can be used in a completely different way and exactly as desired by the pianist in order to produce a musical sound which would not be possible at all according to an installation of US Pat. No. 5,262,586 the location and the reverberation of an auditorium are taken into account when reproducing the sound or using the data that was not available at the time of the original recording.

In contrast to the prior art, the single tone or the individual key is also taken into account, with each individual being treated differently can be. In US Pat. No. 5,262,586, the overall sound impression that is created is taken as a basis for the following modifications, which is then undifferentiated after being created.

The intensity of the impact of the hammer heads on the sound strings determines the degree of energy transfer to the sound strings and is therefore decisive for the vibration behavior of the sound strings.

The degree of energy transmission can be influenced within wide limits by the way the keys are pressed, the coordination of the lever systems (regulation) and the characteristics of the hammer heads (weight, size, shape, material and intonation). That means:

Extreme pianissimo (ppp) is a consequence of the minimally possible acceleration of the hammer heads on their way to the sound strings, so that the hammer heads transfer only a minimal amount of energy to the sound strings when they strike the sound strings. This minimally possible energy transfer leads to the sound strings being excited to minimal vibrations and thus a minimum of vibrational energy reaching the resonance floor via the sound bars, so that it vibrates in a minimal manner and thus extremely quiet tones, tone sequences or sound patterns are audible become.

Extreme fortissimo (fff) is a consequence of the maximum possible acceleration of the hammer heads on their way to the sound strings, so that the hammer heads transfer a maximum amount of energy to the sound strings when they strike the sound strings. This maximum possible energy transfer leads to the sound strings being excited to their maximum possible vibrations and thus a maximum of vibrational energy reaching the soundboard via the sound bars, so that it vibrates in its maximum possible manner and thus extremely loud tones, tone sequences or sound patterns become audible.

At all volume levels are the shape and weight of the hammer heads, the quality of the hammer head felts, the tension within the felt layers and the Type of intonation of importance with regard to the partial tone structure of individual tones, whereby this partial tone structure forms in the first milliseconds immediately after the hammer head impacts the sound strings and is therefore of crucial importance for the sound formation phase.

So observing the movement of the hammer head unit by the sensors is of considerable advantage.

The source of the additionally supplied energy is preferably externally stored, preferably digital, sound samples which can be supplied to the soundboard in any mixture and in any energy, so that each individual tone can be designed in its partial tone spectrum and in its individual sound phases. At the same time, the use of the sound samples as an external energy source avoids any feedback effect, so that the amount of additional vibration energy that can be fed into the soundboard is not restricted to the limits of a feedback effect, but rather its limits only in the mechanical resilience of the vibrating components of the sound body, in particular that Soundboard takes place. The word "energy source" is to be understood here in the figurative sense, not in the physical sense: the memory with the sound samples contains the data for the vibration energy, not the energy itself, which is coupled in, for example, via an amplifier.

For the musician, especially the pianist, the invention makes it possible to extend his influence on the music he plays: in addition to the piece of music and its interpretation, he can "determine" the sound practically as desired, whether he is in a large or small room plays, which type of piano he uses, which style it is tuned to and which special accents he wants to set, and that also varies from piece of music to piece of music. Volume and speed are no longer unnecessarily limited by the instrument.

In contrast to the mute pianos known from WO 90/03025 A with later relatively true to the original reproduction, a targeted and In particular, almost no time-delayed sound optimization and adaptation to certain boundary conditions possible, for example, a compensation of unfavorable room and reverb conditions, a simulation of another piano model or a very specifically desired amplification or attenuation, for example, only of the 500 Hz oscillation of a very specific tone - without that the 500 Hz vibrations of other tones are also influenced.

The concept according to the invention can also be retrofitted to existing piano instruments - a significant advantage, especially in the case of valuable copies.

The basics of the invention and some exemplary embodiments are explained in more detail below with reference to the drawing. Show it:

FIG. 1 shows a typical vibration pattern of a basic tone of a musical instrument generated acoustically;

Figure 2 is a vibration pattern with details of the sound formation phase and the

Decay phase of a tone;

Figure 3 shows the phases of Figure 2 in a schematic representation with four of the audible partials;

FIG. 4 shows the schematic representation from FIG. 3 with an amplification of the sound formation phase;

Figure 5 shows the schematic representation of Figure 3 with an amplification and extension of the sound formation phase;

FIG. 6 shows the schematic illustration from FIG. 3 with an extension and intensification of the decay phase;

FIG. 7 shows the schematic illustration from FIG. 3 with an extension and amplification of both the sound formation and the decay phase;

FIG. 8 shows the schematic illustration from FIG. 3 with a targeted amplification of the sound formation phase only for selected partials;

Figure 9 shows the schematic representation of Figure 3 with a targeted

Extension and amplification of the decay phase only for selected partials; FIG. 10 shows the schematic illustration from FIG. 3 with an extension and amplification of the sound formation and decay phases with only selected partials;

FIG. 11 shows the schematic illustration from FIG. 3 with a different extension and amplification of the sound formation and decay phases of different partials; and

Figure 12 is a schematic representation of the technical structure of an embodiment of the arrangement according to the invention.

FIG. 1 shows the typical vibration pattern of an acoustic tone H of a grand piano (above) or a piano (below). The root note H has a large number of so-called harmonic or partials. These harmonic or partial tones of each fundamental tone form the respective sound spectrum or partial tone spectrum of the corresponding tone.

The tones of good acoustic piano instruments can have a large number of partials. It is assumed that up to about 13 audible partials are built for the human ear with good acoustic piano instruments.

In Figure 1, 8 partials of this are now shown with their vibration pattern, namely in a three-dimensional form as indicated in their temporal course.

The spectrogram shows from left to right the number of partials chosen for this display with their frequency f in Hertz and from top to bottom the course of the decay phases of the partials shown, ie the time axis t in seconds. The relative sound pressure level in dB rises upwards from the time axis. The sound formation phase is omitted here for clarity. The course of the vibrations of the individual partials is subject to constant variations. It changes continuously in its composition and intensity of the individual partials to each other, so that this creates the typical piano sound. For other musical instruments, the same root H sounds different for the human ear for this reason, so that the listener can easily distinguish a root H of a piano from a root H of a guitar. The trained ear of a musician, music lover and specialist can also distinguish the typical sound of one and the same basic tone played on different piano models, since the typical chronological sequence of the individual partials also deviates more or less from piano to piano.

The partial tone structure with its vibration patterns changes continuously in varying forms during the sound formation phase and the decay phase. It also depends on the pianist's playing style (loud, quiet, staccato, legato, with / without damper pedal, with / without tone, etc.).

The changes mentioned in the temporal course of the individual partials and the resulting different sound of the composition extend over the entire time period from the moment a hammer head strikes the sound strings during the sound formation phase not shown in the spectrogram and during the duration shown in the spectrogram entire decay phase until the sound sides finally settle out. The changes are also in a constantly changing interaction with the other partials of the same fundamental and also in interaction with the fundamental and partials of other tones within the entire range of the instrument, which are in harmonic relationship with the struck tone and its partials.

FIG. 2 shows the audible sound curve of a selected tone without the additional vibration energy being fed in, that is to say the curve without applying the invention. The sound as a whole is reproduced without a representation of the partial tone spectrum contained therein. The time is plotted to the right, the intensity and the sound pressure level in turn upwards. As can be clearly seen in FIG. 2, the sound formation phase B begins with the moment A ό s impact of a hammer head on the sound strings and the vibrations of the sound strings that begin with it, and ends at the time C at which the sound strings convert the impact energy into the maximum of the vibration generators - have converted gie and the decay phase D begins.

During the sound formation phase - also known as the settling period - each individual sound string begins to vibrate in its fundamental tone and the associated partials. The decay phase follows the end of the sound formation phase and ends with the moment E, since the vibrational energy in the sound strings is used up.

The illustration also shows, among other things, that the decay phase in no way only takes a purely sloping course, but that the audible sound course definitely has turning points and maxima. It is precisely these effects that also influence the sound impression that a certain tone produces in a certain musical instrument. The courses shown are chosen here purely by way of example, that is to say they are quite different for different tones.

In FIG. 3, the sound formation phases and decay phases are shown in a substantially simplified manner using the example of only four of the above-mentioned up to 13 audible partials shown. In the following, FIG. 3 is used as a reference figure for the changes that occur with the appropriate influence.

The following figures show that various forms of changing and influencing the sound are possible through the inventive concept. The representations are made in a quasi three-dimensional form. However, the time is plotted from left to right, the intensity of a certain partial tone from bottom to top, and four selected partial tones are plotted in succession from front to back. The result is a simplified representation of the partial tone spectrum of a tone. The audible sound curve of the four-part tones is shown in each case. The solid line L is used by the vibrating sound strings of a piano instrument without feeding sound produced by additional vibration energy. With the strongly dotted line M, the sound curve of the same partials results if, in addition to the sound curve generated by the vibrating sound strings, additional vibration energy is fed in, the type and form of this feed being explained in more detail in the following descriptions.

The thinly dotted line N takes into account the fact that the sound strings themselves are now also resonating to a greater extent.

FIG. 4 shows how vibration energy is additionally fed in during the sound formation phase and thus an amplification of the entire tone occurs across all partials. When this change is made, the impression of the hardness and volume of the attack changes primarily for the listener.

FIG. 5 shows in a similar form that the sound formation phase is both amplified and extended by vibrational energy being fed in here.

Figure 6 shows an unchanged sound formation phase, but the decay phase is extended and amplified, again for the entire tone. The tone duration is increased.

Figure 7 shows an extension and amplification of both sound formation and decay phases, which now complement the two effects.

Figure 8 and the subsequent representations now show that the sound character of individual tones or entire pitches is specifically changed and enriched. This is done by a targeted supply of vibration energy related to individual or a plurality of selected partials of the sounding tone.

In Figure 8, this is done by a targeted amplification of two partials in the sound formation phase. In FIG. 9, this is done by deliberately lengthening and amplifying individual partials in the decay phase.

In Figure 10, this is done by lengthening and amplifying individual partials both in the sound formation and decay phases.

Finally, FIG. 11 shows an extension and amplification of different partials in different forms both in the sound formation and in the decay phases.

The result of the possibilities for influencing the audible sound phases shown and correspondingly described in FIGS. 4 to 11 can thus either lengthen and / or amplify and / or change the sound patterns of individual tones or selectively selected partials of individual tones in variable forms.

This makes it possible to selectively change and influence the entire sound of the instrument or only the sound patterns and the sound characteristics of individual tones, of tone sequences or selected pitches. This results in previously unknown possibilities for sound design. The following examples of the sound-forming effects of the instruments are by no means exhaustive, there are also other options for adjustment:

a) it is possible to adapt to different forms of musical expression, for example from different musical periods.

b) it is possible to adapt to different acoustic spatial conditions in which the piano forte instrument is located. At the pianist's choice and request, small and large, empty and full halls can be taken into account and the resulting sound deficits or sound changes can be compensated for. Also reverberation times or acoustic Properties of certain rooms can be balanced or, if desired, simulated elsewhere.

c) The special expectations and demands of pianists and piano players regarding the sound behavior of the instrument or its sound effect in the room can be adjusted individually.

d) musically differentiated demands and also demands on the instrument can be considered much better than before. For example, pianoforte instruments can be used for very different purposes, such as song accompaniment, chamber music or as a solo instrument, while on the other hand, an increase or perhaps reduction of the pianoforte instrument is very desirable in certain orchestral situations and this can also be very different for certain tones.

FIG. 12 shows the components which are contained in an embodiment of an arrangement according to the invention for a piano forte instrument.

A piano instrument 10 has a mechanism 11 with a row of keys (not shown in detail in FIG. 12). The keys of the musical mechanism 11 act on strings by means of a lever construction and a hammer head unit, and the strings in turn cause a resonant base 20 to vibrate. The soundboard 20 is a membrane-like tensioned surface which is stably supported all around on or in the piano instrument 10.

According to the invention, the keys of the game mechanism 11 are now equipped with sensors 15. These sensors do not necessarily have to be arranged on the button itself. The movements of individual lever elements can also be recorded in the mechanism 11 of the piano instrument. The sensors 15 can be below, above or behind the buttons, inside, in front of or behind the lever system of the mechanism 11, above, below or behind the Hammer head unit or be arranged at other locations. As sensors 15, mechanical, optical, inductive, magnetic or other form of sensor systems for recording the corresponding movements within the mechanism 11 are suitable.

The sensors 15 record, for example, the acceleration of the lever elements of the mechanism 11 selected for the measurement. From the measured accelerations, the impact intensity or the impulse of the hammer heads on the sound strings and thus the sound strength can then be determined in further devices discussed below, i.e. whether the player is currently playing pianissimo or fortissimo or which sound strength in between. In other embodiments, sensors 15 for position, speed or other data can also be used.

The sensors 15 can individually register the mechanical movements of one or more selected parts within the mechanism 11 for each individual tone. They then supply information that is preferably in MIDI format (musical instrument digital interface). This information includes information about, for example, the start of the downward movement of a key and the end of the downward movement of a key. The duration of the tone hold can also be passed on as information, that is to say the time period over which the key is held down by the pianist and / or over which the damping pedal is pressed or the tone holding pedal is pressed. Information about the upward movement of the key or a key that is again in the rest position can also be transmitted.

This MIDI data, ascertained by the sensors 15 and generated in a corresponding format, is now forwarded to a device 30. This device 30 contains, among other things, a device 33 for tone control. This device can also tap data from a memory for sound samples. Depending on the transmitted data from the sensors 15, those tones are stored in a memory 31. drawn partial tones of a tone, which correspond in their pitch to the tone played in each case. This memory 31 ^′ therefore serves as an external source of data, which will become the basis for the supply of additional vibration energy into the soundboard 20.

This data can contain frequencies stored individually for each tone, partial tone characteristics and parameters of the sound formation and decay phases.

The device 33 for. Tone control now makes output values from the data of the sensors 15 and data associated therewith from the memory 31 for the volume and the tone length of the tone played in each case available to a further device 34 for tone modification.

This device 34 for tone modification can now selectively reinforce, increase or lengthen the structure, the structure, the composition of the partial tone spectrum of each individual tone. For this purpose, the data taken over by the device 33 for sound control are correspondingly extended, supplemented, amplified and otherwise changed. As a result, tone by tone can be individually designed, expanded and shaped in accordance with FIGS. 4 to 11 and the associated descriptions.

The correspondingly selectively selected tone supplement parameters thus leave any significant influences and enrichments for each individual tone with regard to its entire partial tone spectrum or partial tones selected from it in any composition during the sound formation phase, during the decay phase and / or during both phases by adding, amplifying and lengthening sound formation taking place in the soundboard 20.

In addition, a control module 35 is provided in the illustrated embodiment. This control module 35 can have predefined circuits, presets, regulators and / or screen-controlled software which are involved in the performance by the pianist or else others during the playing People can be operated or influenced. It is therefore possible to influence a certain piece in one way, for example, during a music performance, but in a completely different way later. This allows completely different characteristics of the individual pieces of music to be taken into account. For example, compositions from the Baroque period can be performed in a completely different partial tone composition, i.e. with a completely different sound pattern than, for example, pieces that were composed with different sound ideas in the 20th century.

If desired, changes can also be made during the individual piece of music, for example to influence different passages of a piece of music differently. For example, for certain moments within a piece of music, the impression can be created that the demonstration is taking place in a cathedral, in which, for example, corresponding reverberation effects are artificially caused by partial tone extensions, while this does not happen for the rest of the piece of music.

An amplifier unit 36 then amplifies the signals taken over by the device 34 for sound modification and the control module 35. The extent of the amplification of the signals can also be determined via the control module 35 optionally via preset circuits, presets, controllers and / or screen-oriented control software.

The amplifier unit 36 ultimately provides the necessary energy so that the modified data from the preceding devices can also be fed into the soundboard 20 in an energy-efficient manner.

This feeding of the additional vibrational energy in the sound board 20 via electromagnetically acting drive systems 25, 26. Depending on the size of the instruments and the volume of energy to be fed in additionally optionally, one or more sol ^' rather driver systems 25, 26 installed on a musical instrument or on its soundboard 20.

The driver systems 25, 26 have coils attached to the soundboard 20, and furthermore, in three dimensions, special magnet systems and driver magnets which can be freely adjusted in space. It is advantageous if the driver systems 25, 26 have coils with a minimal weight and at the same time as high an efficiency as possible in the piano-specific frequency ranges. The adjustable magnet systems used to drive the coils should be of high quality and the driver magnets should be as heavy as possible

Have a mounting base to minimize energy losses.

In summary, the sensors 15 record the movements of the keys or the hammer heads or other moving parts in the mechanism 11 of the piano instrument 10. Midi data is generated from this.

These serve to call up the associated sound samples recorded in the memory 31 for the sound samples, with the aid of which selected additional sound energy is then fed into the soundboard 20. This additional sound energy supplements the vibration energy entered into the soundboard 20 by the vibrating sound sides and extends it in detail.

LIST OF REFERENCE NUMBERS

0 piano instrument 1 mechanism 5 sensor

0 soundboard 5 soundboard driver system 6 soundboard driver system

0 device for sound expansion 1 memory for sound samples 3 device for sound control 4 device for sound modification 5 control module 6 amplifier unit

f Frequency in Hertz (Hz) t Time in seconds (s) rS Relative sound pressure level in decibels (dB)

A Impact moment of the hammer head

B sound formation phase

C End of the sound formation phase D Decay phase

E End of the decay phase

L solid line

M dotted line N thin dotted line

Claims

Expectations

1. piano instrument, with a mechanism (11) with keys, with strings that are struck by a mechanism when the keys are pressed and vibrated, with a soundboard (20) to which the vibrations of the strings are transmitted, and with a device (25, 26) for feeding additional vibration energy into the soundboard (20), in which sensors (15) are provided which directly or indirectly detect the actuation of the keys of the game mechanism (11), in which a device (30) for There is a sound extension to which the measured values of the sensors (15) are supplied, in which the device (30) for sound extension is equipped with devices (31, 33, 34, 35) that compile data depending on the measured values of the sensors (15) which correspond to a desired sound characteristic and in which the device (30) for sound expansion via the

Device (25, 26) for feeding additional vibration energy according to the determined data to the soundboard (20).

2. Pianoforteinstrument according to claim 1, characterized in that the vibration energy generated externally by the device (30) for sound expansion via the device (25, 26) for feeding into the soundboard (20) in real time in addition to the mechanical way of the vibrating Sound strings in the soundboard (20) vibrating energy is fed.

3. Pianoforteinstrument according to claim 1 or 2, characterized in that the device (30) for sound expansion has a memory (31) for sound samples, and that the actuations registered by the sensors (15) in the mechanism (11) of the instrument (10) Tones corresponding to the keys and their partials from the memory (31) are assigned tone samples.

4. Pianoforteinstrument according to any one of the preceding claims, characterized in that the device (30) for sound expansion has a device (34) for sound modification, and that the device (34) for sound modification from the sensors (15) and from the memory ( 31) modified data of the tones.

5. Pianoforteinstrument according to any one of the preceding claims, characterized in that a control module (35) is provided that controls the device (34) for sound modification, for example via presets, controllers and / or screen-controlled software, so that individual sound design by optionally influencing the tones is possible.

6. Pianoforteinstrument according to any one of the preceding claims, characterized in that an amplifier module (36) is provided that amplifies the signals received from the control model (35).

7. Pianoforteinstrument according to claim 6, characterized in that the outgoing from the amplifier module (36) signals of the device (25 26) for feeding in vibrational energy are fed, converted there into mechanical vibrations and introduced into the soundboard (20).

8. Pianoforteinstrument according to any one of the preceding claims, characterized in that the device (25, 26) for feeding vibrational energy has one or more driver systems.

9. piano instrument according to claim 8, characterized in that each driver system (25, 26) has a ring magnet, in the core of which a coil is arranged, which is fixedly mounted on the soundboard (20) and drives the soundboard (20).

10. Pianoforteinstrument according to claim 8 or 9, characterized in that the driver magnet is adjustable with special adjusting devices in all 3 dimensions and can thus be exactly aligned with the position of the coil body attached to the soundboard (20).

1 1. Pianoforteinstrument according to claim 10, characterized in that the adjustable driver magnet is mounted in a heavy base body, which in turn is attached to a detent body of the piano instrument.

2. A method for influencing the sound of a piano instrument, with a mechanism (11) with keys, with strings that are struck by a mechanism when the keys are pressed and vibrated, with a soundboard (20) on which the vibrations of the Strings are transmitted, and with a device (25, 26) for feeding additional vibrational energy into the soundboard (20), characterized in that the actuation of the keys of the musical mechanism (11) is detected indirectly or directly by means of sensors (15) that one The measurement values of the sensors (15) are supplied to the device (30) for expanding the sound, so that devices (31, 33, 34, 35) are provided which, depending on the measurement values of the sensors (15), compile data that a

^• correspond to the desired sound characteristic and that the device (30) for expanding the sound via the device (25, 26) for feeding in additional vibration energy in accordance with the determined data supplies the soundboard (20).